Their first hit, the gospel-influenced "There's No Other (Like My Baby)", debuted on the Billboard Hot 100 in November 1961. Originally the B-side to "Oh Yeah, Maybe Baby" (featuring Wright on lead), the stirring popballad was co-written by Spector and Leroy Bates and featured Barbara Alston on vocals. The recording was made late on the evening of the high school prom at the William H. Maxwell Career and Technical High School,[8][9] the school attended by Alston, Thomas, and Giraud; they were still wearing their prom dresses, as they had come to the studio straight from the event.[10] The single reached number 20 in January 1962, marking an auspicious debut for Spector's Philles label.[7]
Brill Building songwriters Barry Mann and Cynthia Weil's "Uptown" gave the girls their second radio hit. Having an ethnic flavor with flamenco guitar and castanets, the more uptempo "Uptown" featured Alston once again emoting convincingly over a boy, though this time with class issues woven into the story. After the success of "Uptown", a pregnant Giraud was replaced by Dolores "LaLa" Brooks.
Soon after "He Hit Me" flopped, Phil Spector began recording singer Darlene Love and her backing group the Blossoms. The Crystals were not able to travel from New York to Los Angeles fast enough to suit the LA-based Spector, who wanted to quickly record writer Gene Pitney's "He's a Rebel" before Vikki Carr could release her version on Liberty Records.[citation needed] As Love and the Blossoms were also based in Los Angeles, Spector recorded and released their version under the Crystals' banner. It was not the first time Spector promised the Blossoms a single and release it under the Crystals name.[citation needed]
The song had originally been offered to The Shirelles, who turned it down because of the anti-establishment lyrics. It marked a shift in girl group thematic material, where the singer loves a "bad boy", a theme that would be amplified by later groups (especially The Shangri-Las' "Leader of the Pack").[12]
"He's a Rebel" was the Crystals' only US number one hit and also made the UK top 20. Their follow-up single, "He's Sure the Boy I Love", was also recorded by Love and the Blossoms. It reached number 11 on the Billboard chart and features a spoken intro by Love.
"He's a Rebel" kept Pitney's own "Only Love Can Break a Heart" off the top spot on 3 November 1962.[13] Pitney never reached the Hot 100's summit.[14]
"Real" Crystals return
Though it is unclear as to the level of their participation in "(Let's Dance) The Screw", the 'real' Crystals definitely began recording again under their own name in 1963. However, Thomas had departed to get married, only to join another mildly successful group, The Butterflys, along with another original Crystal, Myrna Giraud. This reduced the group to a quartet. Alston, known for her shyness and stage fright, was never comfortable with being out front, stepped down from the lead spot giving it to Dolores "LaLa" Brooks. According to Brooks, she had been doing Alston's leads in their live shows for a while.
After "(Let's Dance) The Screw", the group's next release was "Da Doo Ron Ron". The song was a top 10 hit in both the US and the UK, as was the follow-up single "Then He Kissed Me", with lead vocals also sung by Brooks. Both these songs were actually recorded by Brooks, the Blossoms and other session singers (including a young Cher).[15] Brooks also flew out to Los Angeles to record tracks for the seasonal album, A Christmas Gift for You from Philles Records.
At the start of 1964, the Crystals flew to the UK for their first European live shows. "Then He Kissed Me" soared to number 2 in the UK,[16] and the Crystals also headlined the TV programs Ready Steady Go!, and Tonight at the London Palladium.
Mounting tension and break-up
Despite the steady flow of hit singles, tensions between Spector and the Crystals mounted. Already unhappy with having been replaced by Love and the Blossoms on two singles recordings, the Crystals were even more upset when Spector began focusing much of his time on his other girl group The Ronettes. Not only did the Ronettes become Philles Records' priority act, the Ronettes actually replaced the Crystals on four album tracks on the 1963 compilation LP, The Crystals Sing the Greatest Hits. As well, there were disputes about royalties, with the Crystals feeling that Spector was withholding royalty money that was owed to them.
Two failed Crystals singles followed before the band left Spector's Philles Records for United Artists Records in 1964. "Little Boy", which reached number 92,[17] was a Wall of Sound production that was layered multiple times, which meant that the vocals were hard to distinguish from the music. "All Grown Up", their final Philles single (of which two versions exist), only reached number 98.[17]
1964 also saw the departure of Wright, who was replaced by Frances Collins (aka Fatima Johnson), a dancer whom they had met while touring and mother of the rapper Prodigy; toward the end of that year Alston departed leaving the group a trio. As a trio, they recorded two singles for United Artists, "My Place" and "You Can't Tie a Good Girl Down". One more single was released by Alston, Brooks and Thomas on the tiny Michelle Records in 1967 ("Ring-a-Ting-a-Ling") and they disbanded that year. They reunited in 1971 and performed until at least 2018. Kenniebrew is the only Crystal who remained active throughout their touring from the 1970s to then, performing with Patricia Pritchett-Lewis, a member since 2005, and Melissa "MelSoulTree" Grant, a member since 2002. That trio of Crystals self released a CD in 2010 entitled Live in Asia, recorded in Singapore.
After living in Europe for two decades, Brooks returned to the US in 2001 and, as of 2022, performs under her own name across the world, and as the Crystals in the UK and Canada, where she holds the trademark rights to the name.
Clemente, John (2000). Girl Groups — Fabulous Females That Rocked The World. Iola, Wisc. Krause Publications. pp. 276. ISBN0-87341-816-6
Clemente, John (2013). Girl Groups — Fabulous Females Who Rocked The World. Bloomington, IN Authorhouse Publications. pp. 623. ISBN978-1-4772-7633-4 (sc); ISBN978-1-4772-8128-4 (e).
